In the heart of Mumbai, inside the storied walls of Liberty Cinema, Indian writer, lyricist, and filmmaker, Varun Grover’s film KISS, unfolds as a sharp, satirical examination of India’s complex relationship with cinema and censorship. Set entirely within an old-school preview theatre, the film uses the seemingly simple act of a kiss—its length, appropriateness, and supposed obscenity—as a powerful metaphor for the broader struggles over creative control in Indian society1. Through this microcosm, KISS interrogates the forces that shape what is seen—and unseen—on Indian screens, exposing the tensions between artistic freedom and the machinery of state and societal oversight.
A Legacy of Censorship in Indian Cinema
India’s fraught history with film censorship dates back to the colonial era, when British authorities imposed strict controls to suppress dissent and maintain social order26. The first formal codification of film censorship came with the Cinematograph Act of 1918, empowering provincial governments to restrict films deemed threatening to colonial rule or morality6. After independence, the Indian government inherited and expanded these frameworks, culminating in the Cinematograph Act of 1952, which established the Central Board of Film Certification (CBFC)—commonly known as the Censor Board26.
While Article 19(1)(a) of the Indian Constitution guarantees freedom of speech and expression, this right is circumscribed by Article 19(2), which allows for “reasonable restrictions” on grounds such as public order, decency, and morality3. These broad exceptions have enabled successive governments, religious groups, and political actors to exert significant influence over what is permissible in Indian cinema, often resulting in bans, forced edits, or even violent protests against films that challenge dominant narratives or social norms345.
The Kiss as a Battleground
The depiction of intimacy—especially the kiss—has long been a flashpoint in Indian censorship debates. Scenes involving physical affection are frequently scrutinized or cut for being “obscene” or “morally offensive,” reflecting deep-seated anxieties about public morality and cultural identity4. The act of a kiss, in this context, becomes more than a cinematic gesture; it is a battleground for competing visions of modernity, tradition, and artistic autonomy.
Contemporary Challenges and Satirical Resistance
Recent years have seen renewed controversy over proposed amendments to censorship laws, with filmmakers warning that new rules could grant the government sweeping powers to override the CBFC and further stifle creative expression4. These developments have intensified the climate of self-censorship and fear among artists, who risk legal action, social backlash, or even violence for challenging the status quo345.
In this landscape, KISS stands out as both a critique and a reflection of the absurdities inherent in the censorship process. By focusing on the debate over a single kiss, Grover lays bare the mechanisms of control and the everyday negotiations that define what Indian audiences are allowed to see. The preview theatre, once a space for artistic evaluation, becomes a stage for the ongoing struggle between creators and censors—a struggle that continues to shape the contours of Indian cinema today1.
In summary, Grover’s KISS offers a timely and incisive lens on the enduring battle over artistic freedom in India, using satire to illuminate the stakes and absurdities of censorship in one of the world’s most vibrant film industries.
How long is too long for a kiss?
In the heart of Mumbai’s Liberty Cinema, Grover’s bold new film KISS uses one intimate moment to expose a century-long battle over censorship in Indian cinema.
Set entirely in a preview theatre, KISS blends satire and sharp commentary to explore who gets to decide what we see—and what we don’t. As debates over morality, decency, and creative control rage on, this film couldn’t be more timely.
A must-watch for filmmakers, critics, and anyone interested in freedom of expression.
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